Sven Ortel: Career Finances as a Projection Designer

Projection designer Sven Ortel joins host Ethan Steimel for a deep dive into the financial side of creative careers. With a journey that spans nightclubs in Germany to Broadway and academia in Arizona, Sven discusses how he structures budgets, tracks expenses, insists on credit, and manages his dual life as a designer and educator. This episode offers a wealth of insights for freelancers navigating both artistic and financial sustainability. Below is an insight into some of the topics covered in this Podcast.

How did Sven get started in projection design and what helped launch his career?

Sven’s path into design started accidentally in high school when he began working with lighting at a nightclub in Cologne, Germany. His early career was rooted in film lighting as a gaffer and best boy. After realizing he wanted more creative involvement, he applied to study lighting design in London. A pivotal moment came when he designed Measure for Measure at the National Theatre in 2004. From there, opportunities snowballed — including designing Rebecca in Vienna and The Little Mermaid on Broadway. He credits persistence, being visible in reputable institutions, and advocating for proper credit as key factors in getting hired and building his career.

How does Sven separate his design fee from content production in projection design?

Sven emphasizes the importance of separating the design fee from the content production budget — a distinction many theaters overlook. His design fee covers creative planning, meetings, and presence in rehearsals (typically paid in thirds: contract signing, load-in, and opening). Separately, he creates a content budget, which includes:

• Staff (editors, animators, assistants)
• Direct expenses (software, stock footage, etc.)
• Rental (specialty equipment like underwater cameras)
• Miscellaneous (hard drives, USBs, travel)

This separation ensures that the designer is not subsidizing labor and production costs out of their creative fee — a mistake Sven warns can lead to unsustainable practices.

What are Sven’s key strategies for managing taxes and financial organization as a freelancer?

Sven advises creatives to document everything, stay organized, and outsource tax filing to a knowledgeable accountant — especially one familiar with the arts industry. He keeps detailed spreadsheets, separates expenses by category, and maintains a system for home office deductions (e.g., allocating one-third of utilities if one room in a three-bedroom house is used for work). He also sets up a separate spreadsheet for rental income and its unique expenses. His biggest financial lesson? Don’t wait to get professional tax advice. Attempting to manage it all yourself — especially when working internationally — can become overwhelming and costly.

How does Sven structure his freelance business and navigate working across borders?

Sven initially operated as a freelancer in Germany and the UK, adapting his business setup to each country. Once he moved to the U.S., he established a single-member LLC. He explains that while setting up an LLC can vary by state, it’s essential to maintain the same tax ID to avoid complications. As someone who has lived in Germany, the UK, and the U.S., Sven notes that cross-border tax treaties and business structures require careful attention and usually professional help. His approach is methodical: categorize income and expenses clearly, keep project types (e.g., rental income vs. design work) separate, and prepare all documentation thoroughly for his accountant.

What is Sven’s advice on negotiating fees and advocating for yourself in the industry?

Sven is a strong advocate for transparency and knowing your worth. He advises designers — especially assistants and associates — to define a range for what they’re comfortable accepting and to avoid being the lowest-paid person in the room. He also encourages early-career designers to insist on proper credit for their contributions, explaining that visibility through official credit often leads directly to future opportunities. He shares that advocating for budgets, particularly at regional theaters, often includes educating producers about the real costs of media design — from hardware needs to content creation labor. Sven stresses that negotiating isn’t just about money; it’s about setting yourself up for success by ensuring you have the resources to deliver quality work.

Key Takeaways from the Episode

• Credit matters: Visibility leads to future work. Insist on being properly credited.

• Separate your budgets: Your design fee is not a catch-all. Distinguish content production from creative labor.

• Write it down: Don’t carry finances in your head. Create clear, categorized documentation.

• Prepare early and often: Don’t wait until tax season. Keep up with expense tracking throughout the year.

• Know your limits: Be honest about what you can take on, what you’re worth, and when you need to say no.

Listen to this Episode on:

Website / Spotify / Apple Podcasts / YouTube

This episode of the Artistic Finance podcast is hosted by Ethan Steimel.